Chien-Wen Lin was born in 1987 Taipei, Taiwan.
He graduated from Shih Chien University Department Communications of Design.
He is a Taipei based photographer, specialized in fashion photography and has continued to document
his daily life in photos.” Things I Lost” is his first published book. It’s an experimental project which collected photos taken during his trip to Europe in 2011.

Window Seat presents a sequence of images by Vancouver photographer Jennilee Marigomen taken in sleepy beach towns in Mexico. Through a series of simple and beautiful gestures, the project both acknowledges the metaphor of photography-as-window and consciously resists reading the world metaphorically. Rather, the photographs show the benefit of careful attention to the overlooked and often ephemeral beauty in our everyday surroundings—suggesting that the world is made up of neglected sites imbedded in the everyday, which a keen sensibility can animate, arrange, and make deeply compelling for the viewer.

Representations of animals are ubiquitous: from advertising hoardings, newspapers, books, magazines, and television shows, to the hundreds of thousands of images uploaded every day to the Internet. During the last twenty years, artists, too, have engaged with the animal in an effort to articulate more “beastly” visions. How can animals as autonomous creative entities take possession of an unshackled imaginative space cut loose from the human? Beastly/ Tierisch has an innovative, visually daring design, superimposing a selection of artistic works onto a host of pictures from the Internet. This rich image material is supplemented by four essays: about animality and the history of photography (Duncan Forbes), the political and philosophical animal (Slavoj Žižek), the virtual zoo of the Internet (Ana Teixeira Pinto), and the changing identities of animals under anthropogenic pressures (Heather Davis).

Universities and art schools alike have been subjected to the pressure of recent austerity politics and the ongoing attempt to transform higher education according to the demands of reigning neoliberals. In this context, it is urgent to conceive of alternative frameworks and methodologies of study–whether within, outside or at the margins of academic institutions.

This book examines the current interest in education through a series of conversations with artists, theorists, activists and educators -including Suhail Malik, Brian Holmes, Ruth Sonderegger, Gerald Raunig, Judy Chicago, Gal Kirn, Mohammad Salemy, Melissa Gordon, Marina Vishmidt and Andrea Fraser-who are all actively involved in developing new models of study. Ranging from self-organized learning to critical teaching methodologies, the alternatives gathered here offer a resource for those interested in the renewed politicization of education, new modes of knowledge production and teaching methodologies.

Issue 7 contains more content and more pages than we’ve ever printed before. Accessible and inspirational; Of the Afternoon asks questions and explores the creativity, passion and hard work behind some of the most exciting visual artists.

Featured artists:
Ren Hang / Erik Kessels / Florian Braakman / Inka & Niclas / Anouk Kruithof / Delaney Allen / as well as work from 30 of the photographers that took part in our recent pop-up exhibition in London.

The title of Matthias Hamann’s new photo book is taken from a piece of graffiti found on a wheelie bin in New York, which the artist photographed on his wanderings through the American metropolis. YOU WOULD can be read as a challenge or an invitation, or as a possible instruction for anyone who surrenders to change and steps into the light of the camera. The author takes a diaristic approach to recording his impressions as a flâneur in New York and Berlin, mixing the photographs he takes with staged portraits of the queer scene. YOU WOULD shows intimate moments and poses from a social circle with an alternative take on life.

Matthias Hamann (*1974 in Leisnig, Germany) studied photography under Timm Rautert and Christopher Muller at the Academy of Visual Arts, Leipzig. In 2012 he spent six months in New York on a scholarship from the Free State of Saxony.

Fara Fara means face-to-face in Lingala and is a musical phenomenon deeply rooted in Congolese culture. Two groups play at the same time at adjacent locations, and the ones who play longest win. In times gone by, disputes were sometimes settled in this way; nowadays, it is more about musical leadership. A Fara Fara is a massive event attracting huge crowds, but it happens very rarely.

This book is about a film where a Fara Fara takes place in Kinshasa, a musical battle between the two major proponents of Congolese contemporary rumba. The film has not been made yet. It will be directed by the artist Carsten Höller and the film director Måns Månsson.

The book contains photographs taken during various preparatory trips, made since 2001 by Pierre Björk, Hoyte van Hoytema, Reed Kram, Armin Linke, Giovanna Silva, Patrik Strömdahl and the directors. The Swedish writer and music cognoscente Elin Unnes provided the text.